THE | KODALY CONTEXT: Creating an Environment for Musical Learning Lols CHOKsY PRENTICE-HALL, INC. Upper See River, NJ O58tion (208% En. 5 “ir of Cones anoing i Peden Date ey. oie "The hy cntent, 1. Schl mse~tnaracion and sly. Kady, Zaid, ksibd Reta, Z, eae Mice mary sorte TERN 01S ny telecon epost: Reber ate Sosncingbe: ny Bary (© 188 by Presta, me, Upper Su Re, 9 458 rg recat Xo pet nt ‘yay st wou pera a wrng ‘om the pte Pls inthe Und Ses of Anse, To Erxébet Sainyi Teacher, Colleague, Friend— Contents PREFACE ACKNOWLEDGMENTS xx L KODALY: AN OVERVIEW ¢ soci: The Man Band “The Methoa” 3 The Kody Wetiod 6 Suggested Reading 11 part Koddly Practice and the Young Child 2 KODALY AND EARLY CHILDHOOD MUSIC 15 ‘AProposed Muse Program Young Chisen 17Intune Singing 17 Movement 22 Beat, Mevie Aocent, Rytim 2 The Comparatives 29 Festersioner 29 Sotertouder 99 Higherower 31 ce) Momery Training 3¢ Inner Hearing 35 Listening to Musie 98 Conclusion 36 Suggested Assignment 38 ‘Suggested Resaing 29 © MOVEMENT AND DANCE IN KODALY PRACTICE 49 Movement in foment in Hungary 40 Historie Roots f Dance in Amerea <1 Movement an the Young Cald) 44 Circle Games and Dances 46 ‘Actingout games 48 Perine-choosing eames 49 chase genes 47 Winding games «7 Double circle games <7 Movement and Crest roatty 49 One Possible Sil-Tesching equence ‘Singing Games ana Danoas = Svagosiea Asignmente 62 Sopoested Resin 52 Soures or Furor infomation 2 part 22 Kodaly for Older Students INTRODUCTION TO PART II 55 BEGINNING A KODALY PROGRAM WITH OLDER STUDENTS 57 Retonsle 57 Fretyear Ski T Intune Sinalog 62 Rythme Learning 64 Nodic Teaching 67 Mote and Measure 72 Reading Musie 73 ‘Sognested Assignment 72 Suggested Reading 74 ing-Leating Order 6 UNDERSTANDING MUSIC THROUGH PERFORMING AND CREATING: A KODALY APPROACH TO MUSIC LISTENING = 75 Inproveston 77 ‘Some Ways o Encourage Rhythmic Improvisation 78 ‘Some Ways to Eneourage Melodic improvisation 72 Development of Compositional Skits 85 Listening to music 26 Using Standard Compositional Teehriaves wath Kowa Fok Song 50 electing Mic for Listing Experience 9conrenrs A Sates of Untenng Experiences Using Bas “Th Fugue in G Minor” 95 al ete Suggestod Assignmens $6 apecvine KopALy PRINcIPLES IN THE TRAINING OF CHORAL GROUPS — se The Singers 90 Audltoning 69 Shocking the singers 62 Voice range 29 ytmic aby 199 Stohtsinging 101 Exrabity 101 Musil memory 107 Audion tchniquee 102 Thecambista voice 108 Organizing 105 Feutines 107 Student accompaniets 107 Rehearsing 107 Invtune easing 108 Musi easing 108 Inner nearing) 410 Following the dvector 117 The Singing 112 ‘esl Technique and Enuncieon 112 lense hearing 718 Singing posture s14 Brosthing 115 en, throat, oogue 116 Vowel and corsenan: sounds 117 The sung. 120 Budoet yourtime 122 Pettormance 122 Selecting Musi for Chole 128 ‘APart-Singing Herarchy 72# Orta 725 Descante 127 ‘Twoshana singing 128 ‘canons 128 Root singing of he IV, ane V chord a an ‘secompaniment ls songs 120 wo-par singing in contrary motion or inane 194 ‘Tee-pat singing of music fn which there are eanonic snd wescantine pats 735 Two-pat singing that Is hermanlc in charactor 155, CChorcng with folksongs 197 “Three.part harmonic singing 198 Part songs with unusul or elssonant harmanice 150 Unison singing 199 Searching fr New Music 140 ‘Suggenied Assignments 142 Ssupgosted Reacing 142 part EET Planning for Musical Learning INTRODUCTION TO PART Ill 147 7 constaucnna cunnicuLum Pert eto a The Pupose of Curiculum Construction ‘ans Evaluaton "750 “The Teacher: hanging Tesching Behavior 150 “Te Learner: Facilitating the Learning recess Estalichod for Them to Lean 15?The Content 162 Goals for Muse Education 359 IBevucton! Objects 1s utieulum Consiuction Outine $68 ‘Long-Range Teaching Pian or Making Chiron Conscously ofa New Melodic or Rhyne Elmont 158 Suagested Assignment 162 Suggested Reading 769 PLANNING AND SEQUENCING F MUSICAL LEARNING “LONG Banioe To NowwibUat LESson> fA ‘One Possbe Order for Tesch fd Skis 168, Panning for Musles! Lasting 170 Outi fora 30-minute Lesson 472 Sona Aranged oy he Poston oe dd ‘ Summary 178 Rows) we Suggested Assionment 178 ng Musical Concepts PROBLEMS IN KODALY PRACTIC! E, UNIQUE TO AMERICAN SCHOOLS AND MATERIALS “175 The Problem 170 What If Compound Meter? How eI Diteren rom Simple ener? What Concept Should Children Hold of oon Sos Be Tug aa Totape tier een 1e8 Paden mate Tet Dan Sale Temuco Ty Rees rape YFP ‘Suggested Assignments 192 " ~ AMERICAN FOLK MUSIC FOR TEACHING 129 ‘nglo-American 135 Back-American 196 Musical Characteristics ct Americen Folk Musle 199 (Choosing Fotk Songs for Teaching 200 Folk Song Collectons 209 ‘suogestad Reading 204 Appendices INTRODUCTION TO THE APPENDICES 209 SONGS TO ACCOMPANY CHAPTER 2211 5 SONGS TO ACCOMPANY CHAPTER 3 216 SONGS TO ACCOMPANY CHAPTER 4 206 SONGS TO ACCOMPANY CHAPTER 7 254 SONGS TO ACCOMPANY CHAPTER 8 250 SONGS TO ACCOMPANY CHAPTER 10 255 EXISTING KODALY PROGRAMS AND ORGANIZATIONS — 275, ALPHABETIC LIST OF SONGS — 279Preface Richard Kapp, the ditingithed compoter and conductor sid of Kosily teaching practice that it isnot a "oneepe” but rather "a contest ‘space in whieh thing ocar” He elaborated: “The sage enable Ion st the Rest of Kol’ ergy fh ha: as hustan being te soe of it own mtn! experence~inded of Is ene human expeiecesand at rch, Bas eeepc to coor 1 those wih then and in she experience of atone ‘The greater the ‘Noureng” tht more one ir impeled to sek and ve sod play wh ‘lrtcr Sean of experiencing sed shang, Inmeron Jn the guce of ‘seat Iengege ls compas at every polo In tine and se Langue ‘pans iin ws Se fli 0 te es ont intreent and exes Expands teeing. Repertre, the oaled msial domenis evey- thing we inine in our de ton of masc becomes an extension of te ‘mplcion of our experince of what we do and what we count, By expesineecompletod center mere pace for experince (9 occ fonts if you wlan thatthe Great Walls and Maginot Lint ae m0 ‘he tasers to exprcoce we thoure shem tobe, The eye of exper hc, elon of ace, aad expevence win spe Se neverending ae Shea compe Davee te Leta rn othe nm eanfezens ofthe npn enue Roy Bioownm, OoMland bor ps 16 we permat PREFACE 1s from this insight of Dr. Kapp that I have taken the tte of ‘hie book, for to me, Kody classrooms sre rly "2 space in which ‘ings occu” For $ yeats Lhd the good fortune tobe associated with a program Jn the schools of the San Jose (Callforia) Unified School District, where, fora ime, a many 25 3000 children were receiving daily music ‘aught via Kodaly principles—iaught by musi specialists trained inten sively in Kodaly pedagogy. What dose talented teachers provided for the childsen under thir tutelage was truly a musical contexts space in which to experiment, to discover, to grow in musi (One exscim sometimer leveled at Kodily practice i that it ie rigid that ie & 100 narrowly defined in scope and sequence. Yet itis this very vigidey, this Knowledge of where one Js, where on is going, and how one is going to get chere, that makes it posible forthe Kadily ‘eader to ceate an environment in which musieal development a take place. “A researcher who spent many hours evaluating the San Joue Project ‘observed thatthe existence of well defined methods and specie teaching sequence seemed, in reality, not to inhibit but to free the Kodily teacher to concentrate on providing a sting conducive to learning. fn- eed, the many people eho visited thie projct were struck By the 30. sphere permening every clur—the total iavelversent of the children in the sk at hand, the lack of discipline problems, the eltasurance of the students, the teal absence of seléconclownes or fear a8 they dealt with new kil, new experiences, that cjle of experienee—creation of space—experience within space, spoken of eloquently by Dr. Rapp. “This book har grown largely frm my work wit the teachers i the Son Jove Project. All of these eachers wed my frit book * as 2 basic ule at had been with me for at least year of graduate study. How ver, ina conentated teaching situation, ech ase faced in Sam Joe, Inumerous questions arose, questions of sequencing of material of 35 ect of the pedagogy either not tented or inadequately ested i The Kodaly Method. Ke was to answer thie questions, and others, that T undertook the writing of this volume, While I have indaded enough ‘bse information in itso that teacher may vse it without previour Kodaly exposure, i is actualy intended a «companion volume to The Kodaly Method should lke to dhank all the fine teachers of the San Je Project for their many coneibutions: particulary, Mary Exporto and Karen Gruber, the fist project teacher, 2nd Kathleen Cain and Kathleen os Chey, The Kaliya (epee iNew fey: Pree Hall Ine, 1976, * ad al | i enna who collected and tested wth didren many of he =Iging eereetnd dances included in this book. — Fee ivish to express my appreciation also to Holy Names College sence io Sean Tenjoyed teaching clei gadote etades wee I et Tounndon Fens to dep Rody tang wth se other tle pare Ponte anes a Had the theme repented by lower ad Riher voiced inrunents ‘Ther wats couatmeody Ir wae 2 vn Pat card under the wey «Used token cords wo accompany the melody, & Seemed tobe wing to (or or) hey ste sae dine 4. What intramentaton di the componer we? Poe anor 2 Whol ocerra wit al wt, 1 Seing quanet, © Votes ad plate, 4 Harpsctors How did he composer orpanne the theme within the compsiton? ‘Pout response “The des woaldSsen to Meni she form sid How and where in the compodion di the ompoer we dynsnic ang o west ntet) Penpo change? Later, after sues have listened to numerous examples of masie from various periods, the teacher may draw from them the character ot each style, Have the sttents compare one peiod with encther Guide {questions should be asked about melody, shythm, form, harmonization, ‘dynamics, tempo, isteumentation. The students will probably segget See ofthe following ‘Renassance: sendy bet, say sya le change in dynam, thin ound ew insument, modes suing cher melodies aroque: more inuramens, Digge wound, ceuch repeton, wendy best, een ‘bythms fom ea to flow. mere than one lady se (last: song and regula beat. ely ey to follow, one macody 3 = tne ‘ith chord er nokenchod seompaniens eter ery lo or ery ‘of lager sounding creer, leking of balan, snp, ‘Romantic: mich Inge oxhera sound, more contain dram ae tempo, ‘mote tras and petcosion sound, mich ryhmic vay, aly ong melody ata tne wath seompuninent epeesonss she beat has + weak sing fing, shythm pairs a¢ cme les the pine are long and flowing mal Sa quent tempo Changes loge: soc lines, te tonal center is no away cet eg ons ‘weneth Century: to or more ber sounding a ine omy and pel Yonah wemetine thre mo fing tal oftware ona)90 KODALY FOR OLDER STUDENTS “These responses are simplistic, adminely, but ech i character of the period nonetelen and each i 2 characteristic filth, sah, oF ‘event grades can hear and enti ‘Only one ofthe above apt (melody, harmony, form, te) sould ‘be comideed in one listening Each repeated ening should be fr 2 specie purpose. At the earlier grade levels, guide questions should be ‘Extn foo the elas and placed on the board before the selection i played “Repeated litenings are not only desirable but nessa ifthe st dene ino become familar enough with 4 wor to frm any valid value adgement Each lenin should have 2 new porpoe and new guide ‘sans i would be preferable for stodens thea 5 works i depth, ‘ther than 25 superficially Sach Hstenng experience feed back imo the inproviational and comporitional sspecs of the mosie leson, The das any experiment Six Known sengu applying to. them the compositional techniques Teared by saging enc and Tenn to recorded wake of great cn poo. For example, how might "are You Sleeping, Brother Joka?” be ‘eat wih bya comport? The erga] melody i BROTHER JOHN “The eompouer might 1. Rapcimially augue is ‘Unarstuncing Mele Though Peroming end Crating Do ef inn 1 Alter he yt 1 by ang repented notes 2, Rhyne ini SSS By doing sac: SSS 5)@ KODALY FOR OLDER sTuDENTS aves the melody ‘Undeardng Mic Traugh Peoming ad Crating 80 18 Construct the melody on 2 whslesone see cower than two ares 1. Hania with tro cords: 2 Place one roe on Fo the eter smulancowly on Ge (se pro sag Bona == SSS 14 Add notes bene the meady nots (bromticnn 15, Ua dtonane chert accmpaninent ‘These and other suggestions showld come from the students as @ result of het listening experiences Each should be tried wally and evaluated by the cass when ii suggested. {n “Brother John,” the melodie repet is exact: addddlisasl Youngsters will discover, though singing and Listening, that a repeat may tometines occur 1, higher or ower, eating eguence: Pisin ebactc mh, ony, le nh bu eh. thos 2 as repeat with min(96 KODALY FOR OLDER STUDENTS 1 as wquence wih modiscaon: sponse with mattis My county eof hey Sheet nd B= Mey “These techniques, 09, should be wie with other songs, wed in voral Jmprovination and in composition. ‘Simpy singing © theme & better preparation for hearing it chan being told the story ofthe compose’ Iie, However, singing it and anti ating whats compoter might do with ii even beter preparation. "To zeta to the orginal premise of this chapter, “to invent ls to anderstan” youngiters who use the musical techniques of composers will, both understind snd appreciate the mnie of those composers more than, sudeats who simply listen to that music. Listening may be pasive— Simply allowing sound to wah over one while the mind is otherwise Cogaged—or itty be 3 conscious sciit In the world outside, pare ‘ienany in the United States, passive listening i unavoidable ané con- tinual, In the musi leon iti imperative that Istening be focused and ‘Selecting Music fr Listoning Experiences ‘Music sclcted by teachen for stadenclistening experiences should sary idly i period style, and instrumentation. Within a given soe od period, the music sleced should be the very bes avaiable. One ‘oes not lesan to love she best music by hearing that which i second rte, ‘What i the best? Surely no muticin doubu that he music of a Beethoven is more enduring than that of an Offenbach; that the musi ‘of Debusy has greater arate merit than that of Dukas. This being so, hy do so many litening expensencessogested for youngsters const of (Of "Danse Macabre,” “The Sorcerers Apprentice” "Carnival of Ani tals” and similar potoiles? Probably because they have stores that the teacher believer will make the music more pastable to children, ‘The teacher who does this underestimates children’s capacities t ap- precate and enjoy tray goed muse. ‘Who are the sv or three tue giants ofeach mosiat perad? What i a characte work of each of thee compares hat ean be tade Understandable w the student in Sith sath, or seventh grade? Two tenchers may have quite diferent answers to these question, bat using the questions to guide choices will rel in beter choices than might others be made. Undesenig Music Trough Petrming and Crestg 95, Following is one sample Jongrange plan for 2 seis of listening lesons sing some ofthe techniques diced inthis chaps [A Series of Listening Experiences Using Bach's “The Lie Fugue in @ minor” FUGUE ING MINOR, “THE LITTLE FUGUE” Fist exposure 1 Teacher plas the shee on plano. Stadentsnoate (Or, teacher {Frese theme by hand gre tnd aden singed moe) 2 Sens og bck in of wat thy have notated 8 Sudenes memovise de theme and sing iti sas fom memery 4. Teacher dave Ss fr theme detlopmens from the eden: How fan we make hi tune pore Intrenng? What an we do math ‘Soe ponte ardent ggeione may Be 2 Dolio ake 1 Try els higher and lover pacer Pat on tp of ful anon a won). Sing rot toes agen fe. Dee where the tonic () te sab oninae re) andthe danza (ms) sound bes harmo) Sing sor nanan ate eit longer anes sake snober te gO ‘sith eed eounterpin. 1. Aad nots at tee toma the seme longer (end i); ae ide ples ofthe melody ragment in epee par ofthe melody a Hep Higher o ower eqn AEE se 7 lg stern ems sty ne {Soden ten to receding (ae a8 writen for org, ao a ochesal ‘unsaipon) to se wich of the compostinal tegues ey 5 ted aswel by sks wha other Reed ‘Second exposure (at he next lass period) 1 Sing be thee in we 2 Lite eo the rere to ee: ‘tow say cine Ce cntplete tee our a goal ses 1, ow man times coc alered or fagmente in which ole de heme certs at each sztement (ns, sprans so or bigh, mile, low.Third exposure (a month ltr) 1. Sing he ese in fe 2 Lien to de reoring, This time focus on the accompaniment tothe ‘teme 4% Dies the dares ofthe ateampaninent a each new sateen ofthe theme, sch a saewise (apf dow), wie leap cnr ‘onze, cya levels Fourth exposure nthe next ches! yess) 1. Sing dhe she i alte 2, Lea w potion of erecting foros. 4 Linco tan ardtzl maneipson ofthe woth 4 anit whieh inerament lay the theme at ech statement 5 Dies wis makes the wo tearing nun diferent, Fit exposure (ier) 1. Sing he thee in oi, 2. Lien t he orettal mansion of the work 1 Linen to 2 ston of previouipsdie work ofthe Viennese Cis cal Shoo Monat! Symphony 240 i G mer, Sx movement, Lt ample. “4 Gompsre the ono works What seem tobe the charac of each pod Lit them. (Aer herng and sadyng ther works Kom he fie prods tha apparent cancers cn be aided so, lene ‘eed, eonlaned) A worksheet, uch asthe one following, may be prepared for st ens af an aid to forwed listening, Such worksherte are not wsed ia Hiungsri echools they are unnecstary sine their tudente books con: tain many pages for guided listening. The author ka found this form to be sefl with American stadets i the abeence ofa student listening text. The form mast be vied somewhat bythe teacher, depending upon {he work being stoi, Ie would be kept fron one listening lesion to the next and only thowe portions of i pertinent to that leston would be ‘led ie during the leon ‘SUGGESTED ASSIGNMENTS. 1. Chow to compere from sgh period whom you conser t be gins of that pried. Chonse one wok or fart of one war) ofeach ht you ler ‘@uld be mate sndersandble fat ejb hen 2 omar onan Henig sates sh 0 thon gen hi chapter. Comporer Pei: “Theme (ott by sade| chapter 6 Applying Kodaly Principles in the Training of Choral Groups ‘THE sincers. ‘There i mot any Masihe of Instruments wlaeer, compoable (0 that hohe made fear of nw the wee oy ne ‘wrun0s By, Paine, Sone, E Somer of Sader ond Past (5. (One of the real joys of teaching music o children Ties in the bent fal choral sounds tht may be achieved. There i a purty and dit ‘when children sing well that sarpasies that of any instement. 1 i OTE ea task of the me teacher 10 Dep eilren sng well, to Sniiate them tothe very real pleasure of blending ther voles with other ‘oles around them wo aeate unde coe voice tlone cannot. This what ‘hor singing is all about. Few situations ole a ich a teaching poten ‘al asthe chilcen’s choir "To veap the greatest benef frm time spent with children in & choral situation, cis necesay wo havea clear mental image of the dace Tet ofthe cra teaching tsk thesingrs —ohe chosing. rgniing, planning, rehearing, 20d peor Avpving Keds Prnapes ne Trang of Chor! Groups 90 Uesingng the technic specs iotlved in producing good chore sound Uheang —thesong mea cone and othe, hogh which we ech ‘usa wneeper pd lt he cl. "The Sit of thees—the sngers—insoles the tasks of sudioning cputing reer perfoming Auditioning Choosing the singers ‘What does one really need w know about each potential singer to place him correctly in & chral station? 1. Hs vole range tok a and exe range) 2 His ya aie 5 The level of hs ehsngng S 4 The keenes of tet 5: The quiiaae snd eoreanet of bie muse! memory ‘The teacher who has taught dhe sme children since st grade may already possess much of this informationrbost them before choir you However the wyout ean give more specific information in each of shove areas. The tryout can alo pinpone specie instances, such 25 he hoarse voice shat may indicate nodes, or the exceptionally talented child the one withthe benuifal voir, who may do some solo work. How may ne tet quickly and eficienly, the fve area lated above? Voice rage Fifth and sath graders’ most favorable wessitura ies berween D and Dy, and the range ually extends up to high G and down t9 Bor A be- low middle C. The majority of voices tered wile i thie range. When testing, che teacher should be cael that the child's vole quality T= ‘mains easy Ifthe chil’ voice har shart ugly sound, he e pshing Tn the testing procedure, sis important to create an atmauphere ‘of aceptance The child whe fens critica and rejection isnot going ‘o audition well If the children eppeae co be ems, iv may prove belpil ‘© audition three or four together. To hear them individually have thes, top out one at time unt one i let singing alone100 KODALY FoR OWER STUDENTS To tes for range, it is preferable wo we a phrave of a song the ‘hiléven iow welh rather than an iolated sale or roel exercee. The fit phrase of "Joy to the Worl” for example, ia descending diatonic major sale. However, because iti familar and berate it ist to ‘hythm, itis much easier forthe eld wo reproduce vocally than a dite toate major scale played or sung in quarter notes. “The tune chosen to start the wating should have = descending rather than an ascending line. The former ie easier to sng and wll ‘warm the voice forthe ascending pattern ‘One posible procedure for voce testing follows 1 The eacher sings the ine st (plas or pay nd sings from DtoDoo neural mile) Example: “The sudent repest i aler the wecher sith the pion, Tie ede seiddlerepiert mos younpaers wl sing Hh eas 2. The wacher epee pings ne Goan A” 10 A Blow dle “Toe sade sepeas che phrase, unaccompanied, Sndens who ing the ows teow mile C deay nd withoue sain may be ong 300 4 vere th melody: sue the Soveson of the fia rather tan 8 ‘ele Felom item Ft Fane Gio G. Beample Pophing Keds Pune in the Tring of Chea Groupe 101 ‘eat patterns ranging from easy to more dificult: wi nijyans od oni jan TREO | FAN snl mM Stop atthe pauern vith which the student has dificalty. Do not give pattern cif 6 was performed incorrectly. Siahtsinaing To ts sightsnging sil 1. Give the notation without words eatin of + vng the dent ows wel Allow ho few monaenis tng he sy eR ‘sk he olny and sng i This ihging. but at am ease evel en pri te 2 Ite dl the above wel have him sng aight an unkown melody sch a those i Koda 39 Elementary Eserier Ute dent bad eae wie ek I mi tk 2 Er abity ‘To test the Heennes of his ear, Rave the student clot his eyes and sing back, ona neviralsllabl, what he hears The teacher sing plane fon the piano (in erder of cresting dilfcult) 4, » SSS SS SS = z = j ‘The dives who dng these with ee il Be grad fre speanos hrc ability To test for rhythmic ability have dhe student face aay from the ‘anchor. mi that dhe le no ional hehe. andl lant halo mea’a ad eles 9, a Musical memory ‘The two preceding teas are texts of musical memory at well. No adaivinal cast is really necewary. However, its furher tot of metoory ‘is desired, play « and & above with anly a brief pause between the to, ‘Ask the student to sing back only a.402 KODALY FOR OLDER STUDENTS “Toreview, he complete aiton could consi of for range dent. [ng and tr sending se pares fr tye aly fou har exe (Gis repented afer the testers for siptmngng-one song to recone Sin, pai, one share exer fread fr muse! ear tnd emery for tort mele ines repeat ater he sae. Jn each area, the testing should continue ony along asthe child i successful When he begin to experience ically, the Temaining tes in that group should be skipped. All the above ses can be performed fn les dan Ave minutes. ‘Auttion techrques Consider cesting without piano—the results are much more ac ‘carate,In any ce, donot play piano with the cil’ voice while testing. “Tape the auditions, £ ponible to be able to consider them later under les presue. I they ate not taped, be are to have a scoring sheet Drepared ih advance with each childs name and a bax for each tei. Use s nombering sjtem that means something to the teacher but not to the child whois watching. Ics useful wo dasfy the child according to beight on the same form. This can be an id Iter when arranging seating order. "The boys ratio in chiens choirs is often very much out of balance. Music shoulé not become a “pits subject” Weight auditions {in far of boys. Boy sopranos have a beautfl voice qualicy, quite um like that of girl a the same age. It ir not good or necessary wo have fewer boys than girs in = chor; group of 50,80 or more should be oye H they want wo sing and can ery a une, the decor choad take the boys who Uy out. Musiciansip, reading, and part singing can be taught Almost invariably, the girls at this age ae musically (and ace ‘Semically, for that matter) more advanced than boys. This is no excoe fo the choir compored of 55 girls and 5 boys—and that is what happens ‘if aodtions are not slanted somewhat in for of boys. ‘When auditioning children for admision to choir he examiner 1. Thee muilinbot cht srhing «wicker cn wt the cir ex panente see 2, Tir vole quliy—s teacher can we the chit psi to develop eat 1 Their muse meading sila wacker an improve thse dough heel ‘What then ie realy pertinent to the selection of choir members? Of courte, one mst Rnow a child's range for earrect placement; but aside fom that. the single most important factor is the child's desire to sing Aesiig Kodi Panes in the Tang of Choral crours 100 He must want to bein choir. This slong wih reliability and responsi- bility, makes 3 good choir member. Other slle can be taught: his at tude he brings with hi. Zoltan oddly, writing in 1929 on cldce's choirs, sid: Below the ge of 15 everbody emote ealened than above i onfy eepe ‘onal genie contin to develop ct a etm hat ented a fee Go not organi civen ches propery, oar ale chs wil {cree ales in ner ne in qalgy A owe-op fern wil fa ay ase ang diferenty Hf he Bas the opportunity to prerve the fervent ‘iho f singing Hom his cahood. And she child will remember Shi undeneand da witout eonsendous work thee reno rl Koodily lieved in music for all cildren. In the Singing, Schools of lngary all upper grade eildren have 2 hours a week of choral e= patience, Should the American masie teacher really select chilen Sor Elementary schol choir? The author is not 2 all comsnced so. When & teacher choores 60 ehiléren oot ofa posible 200, he automatically denies 10 children the experince of rebeatsal and performance. Of course, ope Cannot ealy manage a chit of 200 voices As an alternative, consider Iaving more than ene choir zo that ll who wish to perform may. At one clemencary school the author had four choirs: fourthgrade choir {every child tn grade #2 Blthgrade choir (tery child in grade 9) & ‘ntgrade chit feery child in grade 6) Thee wee thre classes in each (gode: The groups numbered between 80 and 80 children, Each class met for ovo 4buinute leone, and each grade for en aditonsl hour a week ‘of eho. Each performed ance during the yer. In addition, a small selected group of 80 children me atthe noon secess thee times weekly. These were the youngsters who sang most Tresutflyy who read misie en. The choral sound admittedly was ‘ch beter inthe sect group han in the unelected ones, but inthis ‘manner all had the experience of rehecsl and performance ‘The dambiata voice If the choir inciudes seventh graders, one may very well encounter some changing voices among the bos. Even some sthgrade boys may beginning voice change. Iti important thatthe teacher recognize the changing voice and alte the voice esting accordingly. The easy rage for a changing vice lee than an octave about A below middle Co about the G above, The ttl range aay be from F below mide C to € above: but this range # sung with considerable difculy. Union trork n'a choit with unchanged and changing voices is obviously i posible, To incade such voices in 2 choir necessitates finding two-part fnosie witha very ama range forthe lower voice.104 KODALY FoR OLDER STUDENTS “The procedure for testing the changing voce isthe sme as forthe ‘unchanged voice, but a smallerrange song should be weds "Deck the HEB” (Give tone). Begin on G above middle C, go down to B go up we 4, —=s 4, Ss 4 SSS 3 the wacker is uncertain whether particular boy's voice is 26 tually hanging or whether he i simply singing incorrectly, there re certain physial guidelines co adolescence that may help. As the bos is nase ge changes Iilip become hick 1s eomplenon beomes paler Dib Adams apple appear istimbs become Longe: in proportion tot Bay ‘falar begins to appear ‘is cordinaon Best om gd Tf none of the above physical characteristic ae im evidence, the likeli hood is hat the youngster is simply singing incoreey, Per infuence often induces twelve. and thirteen yearald boss to lower their vices be fore there is any phsial necesiy. A boy whose voice ison the brink of ‘change may bea very fine aaivon to teblevoice choir a briliant op Pet register comes just beore voice change Praise and encourage such & ‘Whether or not boys with changing woies should be encouraged to ‘ontinge singing oF allowed to “rest” for 2 yeats or so during the tice + AepeDara, proeny Fler of Mais ae Uae of ek Cae lnaan' torment Dior of te Eaunta ‘ews Shu tat ef me pra o's we sak om it ROD Aspng Kody Princes in he Tring of hea Grape 108 change is anise that has been much diseased in the literature, I 6 an unforunace fact that if we drive the alescent boy fom ct, Be may never return. There is no medical evidence iat any pial dame age results from continving to sing daring woiee change. TRe only maton for excluding changing voices from the choir i the dicate of fading appropriate materials” Dr. David Woods, Profesor of Masi a lowa State University, con ‘duced 2 10 3ear experiment with cambinta voles. In the context oft allaale secendary school choir, he met vith the changing voles separately during the frst several months of each schol year. The boys sang smalbrange folksongs, chorales, and ther relatively simple works Gradually he Towered the range of the materials wed. asking the boys not to force the sound but to sng lightly and wih eae. The reste was 1 pure mellow quality casing from the botom of the etbiata range without train. Ater two months he inuodued standard choral ltrs {are with high Srstuenr parte The Boys rang these lines in their devel oping bottom range camblata Mf the part became t00 low, they Were to {iop out ianerhearing the part and resuming singing when the pat re. tured to their comfortable range The fe low notes were alo eovered by seleced voices fom the secnd tenor and Baritone sections 2s neces, “There were to signe rele from this IDearexperzneat. kn De. Woods! werd: 1. "The sen ine as frlnmed with goed masashp, and with 4 warm, ellow qustey frie shore in neghing nest wing forced vices for the high tenor par). The 30 t.35 candies tener Salaneed te male chars ins 2 ch blend of 4 "qua seee Eee” 2. "The cambiata volts were Lee singing When ther vie bd overt fo other seas of vole placement, ‘ey satura took on smote pitt, Ther vow fad a gee del of mul quay and ther wade Sanding of mas Had inereaed. There wat nots sodden cnfasion ot Garrssmant wise sometince oes when thee it noninging pero! beowec boy rece ad changed voice The eambstrwere not Injured in ny way bees they were no fora, The were ep ing. {ng lower an ler without sean ntl they expend see tre ering vies” ‘organizing ‘The smoothness with which choi periods run all year at be ex tablished or completely undermined in the fst choir period, seine le ing pablses Tor case se te tt pac oot ty The Combine Fro, be on Calin Cane hese,First of al, one should consider the seating arrangement. Seats should be assigned and changed only by the teacher. Ifthe teacher has ‘made 2 note of the child's height on the audition form, preliminary seating canbe established before the Sst choir period and nan tgs may be placed on the chats. This is also the ime to anticipate and avotd icspline problems by seating students in a way that will reduce the temptation to misbehave If the choir teacher dae not know the chk dren, be should ask the dassroom teacher to fuggest which youngster, should or should not be sate together In addition, the ehildren shold De arranged so that it will be ea} forthe director to see esery chilé and for every child to ste the director. The asrangement shoul it posite, be the same one used for concerts. I riers ae available, wie dem for ehearals, not just for performances, If not, arange the singers by height. Singers iust be able wo see the conductor and hest the pany hen one is wed, Seat the stangest singers toward the Back. They wil lend suppore to the whole group from there. Put sot sure voles fn the front row ‘The arrangement for partsinging, when there ae only eo pats, is « mater of no consequence—alts here, sopranos there. Howevee, for ‘hrcevoice singing there are very rel advantages to placing fst soprance 4 the contr with altos and second sopanos on eer ide of them? The second sopranos have the most diseat part to sing This way they bane ‘nly one ater note immediatly in thet ears. Sines they ar often sing, ing inthis and sinths withthe Sint sopranos their cloenen 1 thet section makes musical sense. This anangement lea puts the vide notes of the harmony together—che alt and the frst sopranos mating fnser for the altos to ear their part in elation to the whole And in this arrangement the two other voies tre heard equaly larly by he section with the emsest voice paris—dhe frst sopranes The arangerent Toke Iie hi Secon Seprares ‘There i an implication hereof equalsised sections, which may not sivays be practicable with « children's coir, Many three-part ble selections are actually wo pars with »highvoiee devant pare The high This cig, apd by Fl F Ro (Chore Sic Econ) for ale ‘orl ope tr ben found yeh au few eet We ec soe aie sh “= ov Kody Prices in he Tsing of Chr Groups 107 vies im such instances an be fewer, while melody and alto voices Should be evenly divided and greater in number for a balanced sound, Balance is dependent als wzon voce quality and the range in which the ies ae singing. There is tendency in many cildren's groups toward lange alto sections, pethaps with the idea that 0 voices wil cary the part more securely than 25. The resultant sound & often coarse and Strident. For mest three part music the numbers in each scion should be approximately equal, with Nexbily to ada to or subtest fom 3 voice par according lo the demande ofthe music ousines Use choir ehilzen to help with the routines that area necessary prt of every choir rehearal. Children can take raponsibiliy for aus Dering and giving out new music and checking rol. I auld not be necesary to ge out and collect music each period. Intend, asign a ‘number to each choir member and nomber all ecavo corespondingy. Music, once given ou, may then be kept in a numbered pocket folder in the seudent’s powesson a log a6 the chai is working on i. This pro ‘cedure has the advantage tha the member ean work on mie outside the ‘oir peviod and that litle time has 10 be spent during choir period ‘Fring ove and collecting i CCudten should be sed to accompany the school choir whenever and wherever posible. Of eure, the teacher mst work with thee ci Aten outside the cho period if they aze to play vel, although private plano teachers are often happy to have their students acquire accompany. Ing experienc and are willing to elp them prepare for it Rehearsing ‘What canbe accomplished in choi in a yen!? What are reasonable Iongrange goals: shortrange objectives? “To ge ready forthe Christma program” is not a worthy objective for teadher it may be a motvating factor for the eldfen, Lat ft should noc be the motivating fore for the teachers. Teachers ae hired to teach, not to entertain. Entertainment may be 4 byproduct of the teaching, but it should not become the teaching pore ‘What kinds of objectives should a teacher have for a choi, then? Hopefully, a result of chat experience eldcen wills, 1 sng Beatully sean, im union, end npr: comely hear aod ‘ju heir singing to Be that of ees voce pune aor De naam petiacae108 KODALY FOR OLDER STUDENTS 2 jnerrer muse! oer wih inline (mui ein: 1 deeap hen ves of inner bessng, 4 tearm to memoria me icky and acutely, 5. follow a aieaor st good woe tecnigue when singing: enuncane wor more cay than Bore, with more awatenes of Correct omtanant snd vowel sence It som such goals as these thatthe choir ditetor mas foeus at ‘eatin, while wotking on the Christies or spring prograah. Th erder to zccomplish thee seven goals twill be necessary t work ‘on them in each cho period. Instn singing In his Let Us Sing Corrects, Kody stated: ‘Toe who always sng in itn sever lean to sng In cnet pitch Cores ion singing ea, parades, be leaned only by Hogi in 70 pars the woes adj and Balance th ber Some exerci designed to promote insane saging must be a pert ‘of each choir period. Tworhand singing is perhaps the Bert ay to Work fon such exercises, The stadents ae free of paper and books, they ate {ocwed onty onthe director and th sound they are prodcing. The style ‘of such exercises shouldbe legato. Riythm ie unimportant in ther, Com plete attention shoud be given to the interac sounds being produced. Disector and choi sen intently to these sounds, adjusting each interval ‘unui it has a pure, dean sound. Only the director wes both hands The chor it divided. with one troup following the directs right hand, the other his let. The teacher ‘eho it insecure with twohand singing should begin with extremely suple exercies For example, use the let hand to lead the choir hough & pentatonic toneset. Then pause on so and bring the tight hand to the 40 position also. Keep the vight hand on zo while the let moves to do and back to, Then move the right todo and back to so while te left ‘stains so. This enough forthe choir at an inital wohand singing experience. As the choi develope more skill in singing from bend agus the direcor will develop more skill in wsing two bands to indiate intervals Masi reeding “Mopeflly, the ciléen are sleady reading rasic bythe vime they ‘come to choir If 4, the director should build on that sl. Tf not he ‘certainly remiss if he doex nathine tn hein shen Oncor ene ‘Aoviing Kody Princes in he Thing of Chr Greupe 09 portant tats facing music educators i that of making stadents musically Independent~giving them the tis with which to dicner music lot ‘Gemselve Some pate of every clr period shouldbe spent to this end. ‘Simple folksong materia! lends fell well to 2 baganing sighing sng proach with choir. There area number of song with only a three note (rr) toneset,and many wish simple duplecater Thythns and rospings of quarter note, eighth nous, and ret ve Chapter 4). Using these to wars up with early inthe coir period clapping and denying {heir rhyms, singing sola asa second verse—can Belp to build useful level of sighsinging fairly quickly. As soon a¢ the children can sng the {hres tones md in self and can dently and perform quarer-ote and tight note pattems, the Kodaly volume Penatonc Musi, vol, aay ‘be used as an exercise book, working on only ane new exercise ina te Inarsal period. As the children progress, thet reading and exercise ma terial should be polled diecly trom the concert music in preparation, In this way, shyte or melodie dificulies can be antiipnted and over come before they are For example, place the folowing chythms (from “Strawberry Faiy"4) on the bose 2 ARAM TNFR A | TR OGRA OCS lave the choir read the shychms from the board, ssing doration slabs, practicing them until ches ae foent. Then hase them lock tthe octavo {nd read the See page, on which thete psu our. Or, to help them ‘wth a melodie ine that may give dificult, approach it through band singing. For example, page 2 of Aaron Coplands “Simple Gift” con- ‘sins & broken tonic chord [med'n-n followed by a broken subdom nant [If fst sing as chords flowing hand signs, they become such eater for children. Thee ee very real values to be derived fox ‘ing the Kody techniques of solfe, hand singing. and rhythm duration Amangenent by Chitpher Brown. Copegst 174 by Oxo Unineniy110 KODALY FOR OLDER STUDENTS abe with a hr, whether ono the rednigns are wed with he sens thir doom mc “ Sofi alusbe beso provides pe vowel wands and den consonant ounds that seem pycholgialy to promote frtune ging, Although the slates were ative at shot aefentay By aids Are inthe leenth century. hey woo etaily 20 ive peste so lng had they not provided fr more benul soging tha any of the many other stems that have come and gone in he mean and sigs te wed cnn rene pce oct eal teed to gcc hand sige, become much ar ete than they a wit {he ton of th Knee mension ‘Rhythan duration mies a ep bene they reduc rhythmic problems vo ea vole! pater Soll, band singig ad hyehm dation slabs ae all id 0 Inping children interpret musa ce wt inteligenc, Only & sl at ofthe coi perio, perhaps 3 mints, shouldbe set inns finaly ested wo the inproveent of mse reading However, when fever he ee els the woe, ening aking face. Threat the dhe period the teacher eam hp the ee el the wie, by log ‘3 em notation set hd tga Inner easing Inner heaving is that abiliy that allows one co “think” amuse Te oes not happen accidentally, must be eaugh. (Seep. 85 of Chapter 2) (On the simplest levee involes having children sing a song aloud then om signal pt dhe cane inside their had, and on = second signal resume singing loud at che cotret plein the muse, ‘Other, more advance, inmerhearing exercises might inclade (in order ofinerensng diticaly: 1. Gite the begining plch and show the hand sgt for 3 song kao to the group. The group iene the ong and singe cach with words 2, Phce atone ladder onthe calibour 8 ean tetetest (Ge soe that te spacing aly repeeens the whole ephalf sep Arctig Koy Princes the Tanng of Choral Gravee it ‘musical reaionsip) Pint ot Saown song a te tone Ider wile the group duis the ene Alter the poindng the coi ene ad sing the ong with wer (Ginethe beginning pitch and show the hand sigs fo 2 song know to avd sdewised bythe group. Make deliberate mstser in sca ‘lars show the wrong band sgn. The dilren at sng she correct, {ols and show she comet hand sign here the teacher aes sake” Youngs throughly enjoy doing this xn guily bee ‘ale whic {Choos a aor fk sng oan exerci fom Kody 33 Elementary [Beesies Have the oap ong 0s, leaving oo all hem te So's only hnking hve sana 5 Pur an onlin mend, 4 bre lng. on the board Allo he dae 1 ady fora fey moments Erase fave the group sng eth, 1 ists ability to look at notation and think sound, not place on fan instrument, hat uly separates musicians from nonmusicans. I ‘nota talent. Iisa skill dae can be tang. Memory traning One of the biggest problems facing any elementaryschoo choir isectr Is ehildven’s seahng inabiliy to memorize their words and ‘movie. Memory, Ike ier hearing. i Tearned sil. eam and! muse De taught, The choir director must guide memoriation. For example, ing Kodaly’s Pentaioni Afusic, vl. 1, have the group: look at No. I sing it correctly aloud; then read the fst four measures silently; cote the books and sing the exercie again loud fom memory: then took at the books to find where mistakes were wade; canect them. Theres value to using shore and easy examples a the beginning for memory work. In this way, one may evablish behavior for memoruing, Later, use the cincire muti itselé i the sane wa) focus an one ection at time. Be fore the children know by what date a particular piece of mie isto be completely commited to memory: and stagger the due dates s that, oir members aze not feed with memorizing twelve pieces of music ‘Guing the week before the concert. Following the director How may the direcar help children to understand and respond cor recy to conducting motions Fit, by being consistent in conducting techniqhes, simplifying them, always sing certain motions fr cal, and other to indicate crecendon,derracendon. Second, by teaching cil ‘dren how 0 conduct at leas the basic simple meters 2 $, and 4. Ac. ‘wally, one seldom needs more than these to conde anyway.“12 KODALY FoR OLDER STUDENTS 1) Is suficent for gaz § fy Bees tr g gress neem og ‘Combinations of the above may be used for § and §. Children can learn to perfor these gestures for Beting tine. They can in ston, lara 10 fecognite and respond appoints to specie gests for ene, stale reese, and other spel emphases sud a cecenoy dee ‘eenda, tardy frmat, Signals cn be worked ont ta remind the chi foes on 2 vowel sound, 1 sharpens pic to wate arsine aging tempo ‘A word bere about clean stacks and endings Mon conductors worry about aacks and so achieve then dean Clean endiogy set Another mater. The doppig of fal nee i one ofthe mow omen teres in bod dasom singing 2nd cenentay cot: Guo should te condcted witha cll dentable ign a the beginning of Ue beat following the note duaton; for example in _glig) 2 the cut should be given athe beginning of the fourth bee For attacks the director should brea obviously with the elven sd form te word nodes. The whole body sould prepare tam foram entaes, ot jist the conacing a “The fllsingingporon of te dvr period can be wed as one pporunty for nda students co cmd The ene cht shoud evaluate the condacing of each sudenecondacer with repel to 26 ara io bening tne, temp, dpamic ce "The last eno gol, coal cigue and enuncton, ae fonctions of he second fact f the choral teaching the singing ‘THe swoINa. \oeat technique and enunciation Faulty intonasion i a problem that plagues choir directors the world over A children's choir singing simple umaccompanied unison ‘numbers well in tone is vasly t be prefered to one that can sing fa. volved thee par’ music always a ule a. Yet, one hears much more ofthe lauer than he ferme. What can be done to develop good jntona on in bien choi? -Aoshig Kody Prins i he Tnnng of Ol Grove 118 cis s mike to be too technical when talking to chikzen, Teach- ‘es most understand the techniques involved inthe production of good ‘voaal tons, i. good singing posture, lose jaw, open throat, good vowel and consonant sounds, and. proper breathing, and then weaslete that understanding into child behaviors, 2 that they become singing habit Tes not neesary to “explain” them to childreb—in fac todo 29 Day actully deter rather than aid in thee mastery. Far ner canbe steam. plished by demonsating rather thin explaiing—fr more through Iinagery than through telling. Diagrams of the throat. tongue, sry, ‘etc may mean a great deal t eriou vite student, bot dovtatal ‘that they ever helped s child to produces good tone. How then should fone dea! with voice provacton? Good singing i dependent upon several factors: 2. Accurate ioe hearing Good shging pure 3 Proper beating. 4 Lacs jw open throat and propty placed conga 5: Good vowel and cononane ound nner heating A child must how he corr pitch in ind fore singing Under ‘choir rehearsal techniques (p10) ve inner bearing exes ae np fgsted to id in the development of cle’ ably to think sound. re th concer forthe qulity ofthat sound, the recta of the i pen The average person can hear minute pitch deviations. Unforta- nay aig to math pitch aps fa behind. One sat a he younger Singer est to bear he pth a should be reduced, and then to match iu To accomplish this models most be provided~and ie at this pent that the whole procedure undermined with mon cis The aodel csualy provided is he paso, an istrument tat ents to, ater than correc, pitch problems. The plano i tned fi i ane) #0 an quebtenpered sale. Voices should not be. I one deveigaer. he hor tsning of any zsly Sine hls choi, one wil probly Sind they ate reheated tout plano vin te Pyhgonanitelie pene ple, bed on the overtone stem in whi the thd of te mse sale always sng higher this © to Eon the ‘jbo counts: tbe tind of the IV an V ends sang igh Gn salle, and axe wang Bie)114 KoDALy FoR OLDER sTuneNTS the flo wale degree (os sng high, but compara Js 60 than (he sland {cists tonal system of te Greek philosopher and mathematicban Pythagoras that is used by all Hungarian children's choirs Ie reals in 2 bright very intune sound.* To. we there principles with children Simply invotves thinking and singing bit higher or'more intensely on ‘ni 0, land ti, The sounds actually produced aze the ones heard a ‘overtones when singing in 2 yer) lve room “To help the choit arive at the correct pitches, have it sng the Iollowing exercies. Each section shoul sing eath voice pare 1 2 5 ‘The ocave, if suog invensey, casts the comet ds sound to rng in the cars ‘The fifth sound, if sang in tune, produces the third. Thee cece snd hon ike hb he Kod oe Let Ue Sing Co rectly, when practiced regulary, enermoudly aid. in. develop sre, when practed regu sly aid in developing: good "The hum, to, ian invaluable tol for helping singers to hear teit ‘vn pitches A singer hears his voice principally Uough the bone and ‘muscle tsue in is head, rather than through his ean. Closing the ips ‘humming—intnsies the singer's pith sense. To use comedy, hoot 3 vowel sound, sing i then clive the lip Highly, sl singing eke ‘vowel inside, If doing « cappella singing, give the pitch ag 2 bummed sound. In voalizing, use hummed consonant "m" or” € precede ‘he vowel sound a an aid to more accurate hesting. Singing posture ‘A second behavior importnt to intune choral singing i good ‘posture. Good posture isthe fist step toward correct breathing. It ime portant co establish and inst upon « comfortable but correc, Position to be wed always, ne just for performances, Childzen should Fo apne who woul ihe meet explain of oe Mangia ‘need Lanlo Doty tar wen ao exalet maha ero ‘dine Usted Staten Pal Bee in eb Choral ne Eon, a decade que fly and os sun a spec se ye opi Popvng Kediy Princes nthe Tang of Coral Grouse 115 forward onthe font thd of thie hair-—any other position leads to slumping, rounded backs, concave diaphragms, eet must be plced in a way that prmotes good portre. Make sore the chats in the rehearsal oor are ofthe right sie. Folding ches induce improper posture. Ie is imposible for fourth and fifth graders ‘whose fet do nat even touch the loo, to st correctly ia the ul a0. torium chat. "Feet Hat on the Hooe” is both uncomfortable and incor sect Feotslighly back of dhe bod, with only the toes touching the ‘oor, will antomatically throw the body foreard into a better singing ‘Do not ell children to “se up” of “stand up straight." Thi alent sways reat in a freed and unnatural ing ofthe shoulders. The shoulders should be felt ar palling dowa-—"your hands aze heavy, le them fall lonely at your aides, You area puppet, there ix 3 sting fa tened to the middle of your chest; your chest is high, your shoulders low.” To the teacher looking at the eldren, their shoulders and hips should appear tbe i line and their backs straight, not arched ‘Show the tudents how ta hold their marie. Then be consistent and have it held that wry a all tne, live them place one hand under i to buppon it, the other over it to turn pages Je should be hed at chest level thatthe directa is vinible by merely sifting the eyes Breathing ‘Kodaly said, about breathing for singing: ‘With ue seaely every exe perm who es his speech and resting ryan corey, Thi toe sot be Laat uring the singing lemon, Tae dniplne of rhythm he waning of tzone and Tang st tnging ngs beter gynanice Mac of hem, no los han fos 22 ented ty Breath to singing what wind is oa sllboat: the power that keeps it moving, When the wind dies down, che sail utes to a stop and the ‘ort ceases to move. When ar premur (or breath) stops singing, sound fies away or spe, and at air presse fade, tones go fiat. One tually Sings on air pressure, aot on ai Children should be helped 10 con ‘entate on releasing a ite air as posible when singing. “Take breath, his, Keep your ribs oe. wie the smallest spout of air paste, rise your band when you run ovt” Time thin im initially for 25 sec fonds. Tecan be built up to 0. Later, go from the “hiss” o an “ah” ound. “Moric teachers know thatthe diaphragm is the breatcontoling rurce; the abdomen, the power. The Waistine expands when a singer inhaler "The iby must be held out from the ime he begins antl he116 KODALY FoR OLDER sTUDENTE finishes. Students can be helped to fel this in amy one of several ways: To fel deep breathing 1. Pot hands 2 waiting. Yawn. Fel the expen 2. Take dep breath Blow at ll es on the bithay cae a once 4 Lie onthe oor. Pata book on your seach Make she book move ap ‘hen sr inhaled; down when ais exbald awe pole {breathe incorrectly when ing Rt oe the Back} 4 Pant or Bagh on pte Actually, comect breathing results almost automascally if posture 5s good, shoulders down and eelaned, and reat open. However, ar must ‘be held back atthe ribs and diaphragm, notin the throat Ifthe Tater occurs, throat tension and a breathy tone result Sometimes, a note shat i in tne at the attack snot fn tume a the end of ies duration. This is parccuanly trae of stained nots and phrase endings Children tend to hit and fade on surained noes, They Tan out of breath before they run out of noe. Good singing fora chil Arens choir is legato singing. “Make a ribbon of sound on vnbroken bbon of sound" To do ths as «chez ite eceary thatthe children Jeam how to stagger breathing, to come otter just before taking = ‘breath, to breache in quickly, tortura solely singing the sme vowel, ad to swell t ormal volume: This canbe practiced very ellectively with the Kody Let Us Sing Corvectly exerci, all of which are pesformed Ina surtsined legato style aw, trot, ongue eis pointless to Seep telling children to “Open your mouths” ‘They think dey have them open. The Sagereinshe mouth tecinique is ‘equally faulty. Who can sing with 2 mouth fll of lagers! A technique at works—all the tine isco have the ehildten find "the hole infront ofthe ex.” When the holes there, he jaw i dropped and in a relaxed position comect for singing. 1 wll not be there i the jaw is jtced for ‘ward orto one side ori not open wide enough. What they are feeling is a synovial cavty—altough iti certainly not nedesry for the chil fren f0 know thst. The opening produced in thi way i too wide for te lower register, but excellent for high note, Pracce wth Bading the ‘opening and sing it to make beter sounds on high motes aso helps iléren Keep a more correct throat and jew poston ducuphost thet singing. They lesen io modify the openaes to the demands ofthe music ‘Do watch that children do not duck this head for fw notes of rae ‘het heads for high note ‘Yow and contonant sounds 1 posure is good, jaws lose, Uostrlaned, inner hentng good, and breathing dove fom the diaphragm, the sounds produced may sll ‘be poor if ere i not speci work with rowel ane cononant sou “Hlungasian choi, no time need be spent on promincition, sch lier in the Hongeran alphabet has but one sound the vonels ate pure vou. ls, English vowel ate not pure sounts, bu diphthong: 2 scaly ve i is acmally bee © i acually 200 In orect singing, one of these sounds mut be sung nd the other barely twached on. Much bad choral singing comes from singing on the weong part ofthe diphhong. Generally, the added sound must be the exeme {endpoint ofthe duration bei sung. For ample: i'm going to pray ‘when the spirit sage pray” ehe tv towel sound inthe wotd "pray" are ‘hand ce. The 2h shouldbe the singing vowel; the ce should be sponded ee very endpoint of the dartion. Alo sahon: “The Water e Wide" In “wide” ee oh howd be the singing ‘rowel he ee sould be founded athe vey end of he darn, ‘coho: “Let ws Walk Trough the Walt Snow" In "swe" the oh SBocld be de singing vowel he co shouldbe snd ee ery end of 1 tis same general vowel das ae: ‘ow-ahon f9 “Bout” “how.” ound": "Round and Rownd, OM Joe ‘Gui tn “ound” de a he anging vowel; te oo mc Be sng ery (uly a the end of the drain (ioen aim "jy": “Joy to the Work" Ta“ theo the singing ‘owel he ce mst be Eaely touche, jt bear he ete Rte “The Ie sounds inte diphthongs ae refered to by coral yore so veiting inde Union, Caen cote a She they ae anything bat ang In Son fog fa wh the mcd und mot become a vanihing one ese se iphone in hi the fof te ero ‘Mat te lily touted on te cond snend cong te ngng ow rus be ake igh a qu{118 KODALY FOR OLDER STUDENTS ‘There are swell afew other vowel production seated problems: a as in "a" "had" “man” and “on an “dance” are uly singing sounds. broader sound i both rote beaut and easier to understand “Have the children take the droppejaw formation they use for voealizing ‘on h when singing these sounds. They wil ound better. ‘The ar asin “farm” alo is often 3 problem. There i 2 tendency fo sng the "0" ae a vowel. Again, sng withthe mouth in the ah potion snd simply eliminate the “E" The author has ceeasinally spelled out ‘he word om the Beard without the °r” and iad the children sy t that way before singing: f-ab-m. The singing sound fe better and the aud fences ear supplies the misting ‘A vowel must be sustined unchanged for dhe duration of the note. 1s is common forthe lip and mouth postion gradually to change in antcipaton ofthe coming conscaant sound. The produces ugly vowel sounds. The vanishing vowel or the eosin consonant must be produced inthe fraction of the moment thatthe end af that note's duration. “To pracice this the Belts avardovinning choie ditecor and ‘Rodaly specials, Margaret Holden, has children sing entire songs cay fon their vowel sounds, eliminating the consonant. It is nor ear tod ‘but ean be a wef technique to develop. When doing thi, one tay heat fon which vowel sound of the diphthong the children are singing, and comrect i f necessary. In “ose” are they singing oo the of or on the 00 sound? In "Tae they singing on the ah or om the ee? Another useful technique isto have cian sing the song through ‘on one pure vowel eound, ak 0, oF oo, concentrating on open Teaned fine and good tone “Tongue postion is alo important for corect vowel production. “Tip of the tongue, tip of the eet,” ssyt Margaret Holden, meaning {atthe tp of the tongue must always be atthe eshy ridge a the base of the lower front teth on vowel sounds. Children ate not accustomed to doing this. The teacher will ave to remind them any times; but eventually Ht becomes habit. With the tp ofthe tongue inthis position, ‘the rest of the tongue moves naturally ito the various corect postions According to the vowel being sounded—irem the highest font postion (ce) tothe lowes back postion (a). This need not be dscased with the shildren; it wil happen if chy feel “ip ofthe tongue tip of the teed” ‘Tuming to consonant, these must be sounded as quickly as pois bie, 20 thatthe tongue may eum to ite corece vowel positon, The choir most sound consonants cleanly and identfably. Ir Whey ae ini ‘consonants, the children must lesen eo get through them quick) snd on tothe vowel sound. Children enjoy ana bene fom tonguetwsting ‘consonant exercises such as thore devised by Margaret Holden: 7 Try teaching to ex emper Donning KosayPricpee te Ting of Corl Groups 119 {¥: Vain Vernon vowed venga. [Re Round rough ods ragged cl ee, Ws Whe women won't white. (Gh Church cape ei cant eheraly, Svodens delight in making up then own exercise thes. The thing tp remember aout consonants x tht cdr shld ot sng om them, ten if hey ave connor on which pith can be essing ng 1 uh al suid oat on oe, The ing sh Inde sme pop rope sing om sh eed consonant ab 2 mae rf eple itn nse good singing practice, ower, amd shoal be Soided. With ing words ave the children held thee son, ang tenga dhe very end te—ng (in). ‘ss general ul, void regional speech sounds. For vooizing, we pore lain sel ounde Abo be sue that af sous are pure wwe End not dighebong. Chen nate thee tenchre. tthe teacher sng ‘ola with pre vowel sours the coir i “The teacher may work long and tard on all dhe above appecs of od singing and sil ceasinally fed he ce has problems at i {oration Sometimes the reason canbe very simple: i rainy, depts ing day the rooms ay, the children ae eds the aout of he ‘enn are poor None of thse ae pennant conditions, Correct the # ble and move on Pept olen, homer: sting ica by crc ating by [Not opetiog the jw enough. Finding he eyovak cv. Use co get de jis open [Nov wing pore vowel soni. Singing the song inl, concentrating on pase ‘owe su ten singing i ono vowels Teng otal connnant. ‘Singing > loudly. Reding she roam; ighening the one qua ‘. Poor pasar, ‘Sanding oe foe Beare the ater in 2 pos Hon of preemaon ‘Stalow retin. Plcing bands on Gnpagm feng be expan Encourage critical listening and slfevatuation. The children ‘should ack themuelies: "Were we in cane?” "Where was the problem?” "What do we need to do to comet it" Accurate selfevaluaion isthe ‘beginning of learning. ‘Oace the longange goals have been enablished (even are given in thie chapter) ad the techniques decided on through which to 20128 KOoALY FOR OLDER STUDENTS Lal ads als ‘compih them, the coir director i ready to begin selecting mosizal Bri] 223 Sei ‘SEED nd pining vse of india eects Tae ets aul qe. ait Ge rd ert cor uci kt ag ff] GFE TELE gl ay ‘He suc al 4 a 1 the wear plans for aout sre ime they wal Bld i al together bese han i be plan stone ats tine. In order achieve continu and say it ext fo lok 1 wnevhat lager tine 7 5 : ‘span than ane rehearsal or one week, FF z 2 ‘The author, working with a Gf and sixth-grade choir, developed. it a ee. the chart given here. The headings are related to the seven goals t0 be Zé ge ze accomplished. Under eath are listed specie musical materials and ae se 28 ‘i intend to ai nthe sccompltmen of hat geal Tee do nt : : five the inva ebearal order They me longrge pl of a00 atl ood few Er acing morc gous Once theese in hana W & necesay 0 Hl iii duis she cnr eah eel ere rom then, Ample ees order aed 4a) 375 rit ‘om the second part of the chart i also ee rage ‘sale ebesral order forthe enon hen Mee might be GS . a ions tees) Se gi “Folk songs to warm wp; conducting. (10 minutes) a i ne 1. Open with hand sngingtend into “Ive Been to Halen” Sing the a ee ug nh wats te cite doa ane benng pe ie ot g 7 SELES SEA ac eat Soe et ea atls iy fil 1. "Shady Grove" Hv hs cone bya saan who wa gent aa\2 He fa lgnacn ate prove reat Gas va emp, i 3 | EERE Ej FIC Dimi, aun, and et : See Singing ech ntti. (it) sl br hide, 1 Voc exces or intention Lat Us Sing Corect:No. 6 an No. al°|2 fifeisi tk sda te moje thed (re Rela te exe as S232 388s Tine n whist oping wed ents being Ba Hg z ork on the mot fiat piece ory the reearal (20 minutes) : ahd : Seeds “ate mig ei men he wr 5 cee eS122 KODALY FOR OLDER STUDENTS Polish a move familar piece, Werk on memorsaton. (0 mites) 5 ew Yeas Carol" Work on vowel ound: sing the song hsoush on ‘moh fos tho wih werd: Menor the ores Pay eal atendon 10th aekendo and gercndo wl menating Note he aerence on he hid ainging: my 9 ‘Music reading, New piece intedsced. (10 minutes) 6 Read thes yas om the Board 207 PAO »O1M Al m7 A OM FRR Pracice ones sd with hand singing. Le open fngte = wal to pepe th chow fr seating in Aud Ek me ec Sue ‘any Fan” Find the mia pacerne. Real th fit stones of he maa in le Clove with wel-ixown, welloved piece. (§ minute) 2. "Simple Gt” Draw atention to final dors and oa pats ‘core sging. Emphasr beuking fr lng phy Pro with scompsnimen. edpet your time Know how long ech acvty should take and, within reno, tick te it Ifyou must ran over on one acciiy (usually by geting stuck ot ‘ome diicaty, be sure to provide a balance by going to something sir ater it and not plunging into another potential preter ae Sts dents need periods of concentration, broken by periods of relation, to lear ec. Pestormance ‘A song, sch a6 one of those mentioned in the sample rehearsal plan, takes about $ minutes to perform, A att mighe have fe oF sb Such numbers, or might consist of same simpler music—folk songs the shildren have been sngiog, mixed in among the more difcule octavo Biers Two such set are certainly enough for young soit to tng 80 {0 40 ninutes of seual singing tine. Arange the material thatthe choir beg with someting ight snd easy—t0 warm the vies then do the more difelt suse while the ‘lds are sl esh, end hoe with lighter, nore velaning material ening Key Prien a hea ot Chor Greees 123 Repeat ome numer from ya year, for these of bth he choir an thence ny peopl noc for enn Beers SCaesony of Carol” or Kedye “venng Sng” the fst ine hey tng or erie Aloo with exepin, hey do he tik or far {ERE Agoungeer who ang ce retaly ey ofan ln f Kas “Ghsstaas Dance of he Shpher” when in foorh gage wl be tory fart be so pend Wl vo pron i el a sith Grade Do ake crn tat he mame repented on yar Yar te Sma ort Do not staapt to make young sound He adule Hee Lt Soe LEST Acme ng thar “otek st eoough the cho nord ever Ag mo Tonle {Savas yl mate «meteors se los “Slo peraaor bse and en the pop lends iy and ges the ted or ecpinallyssialeléenexen tor old theft ean the prance fal if Posie ond Be soe everthing ined p torn wibout pe, Dearne ens Selecting Music for Chol oul id, “Only the best musi good enough for chilren” He spent 2 major part of Rs creative life composing for ldren. He oa. Sidered che development of ste ia music—an ability to dicriminate ‘the goed from the ba, the Sine and enduring from the ap and wans- toryrio be the major goal of music education, Bven music literacy, sehich he abo held ea be very maportant. didnot occupy a large 2 place In his speaking and wring at shi development of musa] tte indeed, he elived itt be the single most important agpeet of mae Heracy. le wrote in am aetile on eulden's hot Bad ce spread by leaps and Bounds. In a hs nots ose 4 thing ati 7, dott. Someose ho des in tad tate oe ot ‘hig s Beh bt bad ef an pia sinew of te In grommet cre i inmost eine. Ony prevention an Isp rsh be the tak of ewe to sds kano” ‘When Kodily sid that we dhol ute “only the es” mse with ctacen he had wo Binds of snl in minds 2 fie arto composed ruse Th Sect, ins of nln Ray onto Yons Baey‘At whatever ability level a choir i there are Bexutifl folksongs nd Tovely at musi they cam perform. “However, i important that teacher geuge accurately where in the hierarchy of parsinging his ehdren ate ithe i not @ Rustate ‘em with music too diffe or bore them wide mc to easy, Partsinging is a developmental skill it des not sudealy Soom follgrowa atthe Af or snth grade. Tt most be prepared step by sop ‘rom kindergarien. If thsi not passble—if the chor directon dons ea sho teach the younger ciléren—chen the choir mut be taken though 2 Nearing hierarchy in paresinging unl the dtecor finds thes lee ‘competence, and new lsmiags can sat fem that pint ‘Type of musial experiences sppropriate to hil developmental stages in partsnging may be arranged frm ease to most lt ss {366 peesogiog 2. Ondnnins, ryt: then medic 2 Dec 3. Tworhand Snging of ks intra 4 Canons ric: den moe atthe anion; Iter mead tb itera of wih syn vain (apmeseaon, Ganon, te 15 Root siyig ofthe IV, and eon 82 second part 6 Twopatt snging in which the ois ae in emery oon or ae Satie ofeach ter. ach art at tune” 1. Thnesparsoging of wie fm which he ate enone of dec ike ne 8. Twopat ngiag bused on tide and sith anon 2. Yoo bording—tacompanimettt snge od ough hand gg 10, Thre par singing with she appr voli irs and steamy and the ver var tnging te oto he sox. 2. Bart songs (wo oe hee par in wih the pars create asa or senan hrmsioe fhe director coms into a choir sition in which there has been liale or no musi inseaction previously, be will nod to begin atte vey Ses of these steps toward partsinging and move through them steal ‘aly, going on to she nex step only when the sudenss are comtorbly peeforming atthe previous level, OF cours, none ofthese should be dn ‘continued after eich begins, continues thoughout the chs exper nee. A group performing at competency level I! woul have ia toes ‘cinuing repertory music using dexanty citone,oxtinth cording, -Aoobiog Kody Pps nthe Tring of Cher rows 125 Hooweser, the group that ennot perf. a canon well should not be [pushed into singing twopurt songs with this and sxths harmonies Some teaching techniques and materials foreach ep of the hirarchy are suggested belo, — ee ee ees Seater scy my “hg hte Bont otc ete De) PS ne ce eee are aaa ee Tenet a's ar ree ees Soa pag oe aoe ie aie present a neve ostinato: J J] J J or SI SD JJ. after several four-beat aaa oat oe er aa sit ey etree ene oe te es See eee Parpieraeep oe ernie on ey la ME. Allen tg ine tan te pt12% RODILY FoR OLDER sTuDENTE Smallrange mots may be wed to aecmmpany pentatonic song: Some other ostinti chat work well with pentatonic songs (experiment with dese and others to dix ‘over which ostnati provide the best accompaniments to which sone. ‘Cleren can create dei on osina with ile pracie. The ysis shoul, of couse, be altered to wie the word content and to aeate ome ‘omrast with the song rhythm, te, sustlsed notes aginst moving out, ‘moving notes agin sustained) onc 1h presenting an ostinato (hgehmic or meladi) forthe fs ime, fete are a series of steps which will ensure tat the sudents have sucess thi 1. The group sng the song fy wie the sear perme te nao fem tober. 2. The grovp dpe of sings de eae oly while dae taker sng sheen {Half he group sings or caps te esis whe the other ME singe Be 0 4. The evo ups onc pam 4. The etic soup cape te canto while singing she song Qi ‘yi cen oy) ‘When students experience dsiculty with an ostinato i is generally because one or moe of te above steps has been cited, esas A dent i Gpendnt) content ang along wth te slay the othe nly aly Grate hrs “Thre are nunc clectons of Gan a oung ene Aang the bs kno and mo ral ofthese ae tho by Benet Mak ‘Kone In tition, many olan ee text comin ng wh ean nthe forth th nd scr tooks These re fen treaty eanagh to teed se concert alee forces Ge Scns sve! dca may be eed withthe ae eng cet inreng hanmnie es Tae follwang can by Bet Bers Diteor ete Chen Chor of Mand ve expen \WeAT SHALL WE DO WITH A DRUNKEN SAlLon ‘re. B, estas12 KooMLY FoR otveR sTuDeNTS ‘There are wo ational decane for thie tane inthe palihed ocavo? Tworhend singing Rodily says “he ulaseos sound is he gente of core atch, no the method of veep dishing up these fo when ne seach the Bho sheh sot the fo wl have been forge’ dat Us Sing Comes) ‘Twohand singing involves the use of Kodaly hand signs by the teacher to guide che air through simultaneous iauereal eet Hall the group follows the left hand, the other hal the night. Exerciee should be short, nd performed in Iga ale, No mote than (wo sich ‘curries should be dane during one coit period and each choir ection should in tur sing both th lower and upper voice pars "The intervals ‘worked on shoul, if posible, be related to choral ruse being sed, “The do to ve major second i fen sing Bat. In he above exerci, Dearing re wih low so, the perfect Bh, eases ito be sung higher and ccenone In canon, the second (and other) voces imitate the frst yice and follow ata distance. They commonly end one voice flowing the eter, 1 they begin Dowever he later voice parte may be alered 30 that al parts end fopebes The voices may be tation a the union ovat het Intervals. Rounds are «typeof canon 3¢ the unison. Few mia experiences prepare cilrens eas for parcsinging 2s ‘well as canons sung in tune. The young choir eannt sing too manyof thes “The varity and numberof svallable enone ie semingy imide “They exit a every leel of complexity, in many mscal syler and fro his and ote extn amingerae by Berea fer Alen oie we fesse ough Faget Mase Putas $s" ta Sree a ‘wuingen be i, ‘Arp Kad Paitin the Trang ot Chr rape 129 many musica periods. There ae simple munery tne hat may be sng o a, Woe ap at dent wo @, Ue de Tomemy Tete dee, on, Won, Wow Easy folk tunes may oten be performed in canon efectvely: CCencm a che unison are the most ual and the easier t sng: however, there are alo canons 3t other intervals, simple enoush fo pevlonmance by crea: FLY, LITLE @WALLOW180 KoDALY FOR OLDER srUDeNTs seg ne he ee. ee ‘Avshog Kothy Pinca ino Taig of Choral Gress 131, lon which che moi is being sung. The foundation for Inter understand ing of monic srueture can be exablied. here ater, vocal cording say be bul over the root tones, “Fo introduce the root ofthe tonic cord (2 in major, ein mine) ss an accompaniment, hive the choir sing woug with do as dzone ‘Use hand signs to guide the fst singing of the Second vor pat and Ihave the group sing it in sola. Later, sobtcate words. Drone Canons sometines work wel in shythnic augmentation or din so Ove besa example of an be fod n Bites Fry (OLD ABRAM BROWN eA Samtow e Rhythmic augmentation ofthis sort may be done with many canons the choir will enjoy experimenting o vee with which it sounds cophonious and with which i ereatesdionance, oot singing of te land V chord es en sccompaniment to songs hs 5 of ano prance i ve ing 2 simple eepeated melodic mow 2 asempaninent to sng. Howe ‘he hot ths poi should be sade hare of Ce epee ofthe ae OWN WH by Boney Cm Lak Fabel DS Bases nd, Reet ie fi Sing: LONDON’ BURNING ‘The minor modes should not be aepected when working on this casis Ievel of harmonic undersanding For example, withthe Song "T Got 2 Lewes” (ee noution under exons stow) she choir coal sing on la ol did as an acompaniment tothe canon. Thi we ofthe tonic on a8 x done sone ofthe simples ofall pareanging experienc. Hower should te overdone, by Srvervonare teat ad fang Te shoutd be an oceisal acy fora, rater than» seen one fr peor “Wen the ot of he dominant (1) chord i off aon, mi fn mina) added any more songs Sr weable ad the oben With Sating bee le.492 KODILY FOR OLDER STUDENTS ‘SKIP TO MY LOU en-de Jedsaa dewsae eaeae Senso ena Je ae (anton ged Ver fw American folk song an be hanno corey with 2 IV chord. There are some, ° mee Jes wlll artnenome algo tt Je ne sat ae ¥ ieee oweer, so many are pentatonic in character tat i maybe easier to find examples from composed music: a ‘Avoiog Kody Paces nthe Tang of Chae Cou 183 As the younger tem profcient in rot singing, the dietor sould sop giving handsinging cues for changes from do wo fa and 10 tris toms The group shold ese detrmine scaly a ane te where the changes oc ‘One cation about rot saging ata second woe ptt folk ngs swore ada in chars han Bul on hasnt Buono ef hee ‘hosld be harronied with the cord Dit onthe Aated seventh ater {Ban onthe fourth and Shep Ta sole, che oot of the hari: tion would be ta, and 2, for modes of minor character Doren, Pinsgieny SCARBOROUGH FAIR ori modal character you ge bet Sass ch ti Pasty, Si Roe Es ‘ta ‘ote cy and do, ad for mes mio a carter (Mba, La 2 ——-— a oot ee a ae L co Re” a vi {6000 MORNING, MY PRETTY LITTLE miss Mixalydin modal daracer “Appalachian ‘AWELUA Moat tsa =. Sa Mo fle AL teste gees Ae ee aes eek